SCULPTURE  .—See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, 1489-1494.-" See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

Head of a Faun," See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble; lost . Condivi describes See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo's first See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay in sculpture as a head of an aged faun with a front tooth knocked out, this latter poini having been an afterthought suggested by Lorenzo dei See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici . The .See also:

• LEAD
• LEAD (pronounced iced)

lead is sometimes identified with one in the See also:

• NATIONAL

National Museum at Florence, which however bears no marks of Michelangelo's See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and is in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability See also:

• SPURIOUS

spurious.—" Madonna seated on a Step," See also:

• BRONZE

bronze; Casa Buonarroti, Florence . This bas-See also:

• RELIEF

relief, executed in See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the technical style of See also:

• DONATELLO (diminutive of Donato) (c. 1386-1466)

Donatello, is a genuine example of Michelangelo's early See also:

• WORK

work in the Medicean school under Bertoldo.—" Centauromachia," marble; Casa Buonarroti . A See also:

• FINE

fine and genuine work in full relief, of probably somewhat later date than the last-mentioned . The subject occurs often in See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• SARCOPHAGUS (Gr. vapsorg yos, literally " flesh-eating," from vapt, flesh, ¢ayeiv, to eat)

sarcophagus reliefs: Michelangelo has followed the See also:

• ANTIQUE (Lat. antiquus, old)

antique in his conception and treatment of the nude, but the arrangement of the subject is his own . See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, 1494-1495.—Statuettes of " St See also:

• PETRONIUS (G. (?)1

Petronius," " St Proculus," and a " Kneeling See also:

• ANGEL

Angel," marble; See also:

• PART

part of the decorations of the See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine of St See also:

• DOMINIC, SAINT (1170-1221)

Dominic in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of that See also:

• SAINT (lat. sanctus, " holy ")

saint at Bologna: the style of all three much influenced by the work of Jacopo della Quercia in the same church; the attitude of the kneeling angel with the See also:

• CANDELABRUM (from Lat. candela, a taper or candle)

candelabrum imitated from an ancient bas-relief . Florence, 1495-1496.—" St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John in the See also:

• WILDERNESS

Wilderness," executed for Lorenzo di Pierfrancesco dei Medici, marble; probably lost . Declared in 1874 to have been found again in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Gualandi-Rossalmini at See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa . Vehement and prolonged discussion arose as to the authenticity of this newly-found S . Giovannino, and at last it was bought for the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum, where its genuineness is still stoutly maintained . But the finicking and affected elegance of the conception denote a different temperament from Michelangelo's and probably a later date .

With this figure must be given up also the restoration of an antique See also:

• GROUP

group of " Bacchus and Ampelus " at the Uffizi, which is clearly by the same See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand and is claimed also as an early work of Michelangelo.—" Recumbent See also:

• CUPID (Cupido, " desire ")

Cupid," bought by the See also:

• CARDINAL (Lat. cardinalis)

cardinal See also:

• SAN

San Giorgio as an antique, marble; lost . The attempts to recognize it in certain extant copies or servile imitations of the antique, especially one now at See also:

• TURIN

Turin, must be held mistaken . See also:

• ROME
• ROME (Roma)

Rome, 1495-1501.—" Virgin lamenting the dead See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," commissioned by the See also:

• ABBOT (from the Hebrew ab, a father, through the Syriac abba, Lat. abbas, gen. abbatis, O.E. abbad, fr. late Lat. form abbad-em changed in 13th century under influence of the Lat. form to abbat, used alternatively till the end of the 17th century; Ger. Ab
• ABBOT, EZRA (1819-1884)
• ABBOT, GEORGE (1603-1648)
• ABBOT, ROBERT (1588?–1662?)
• ABBOT, WILLIAM (1798-1843)

abbot de la Grolaie; marble, St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter's, Rome.—" Bacchus and See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Faun," commissioned by Jacopo Galli; marble, National Museum, Florence . (Of these two masterpieces of Michelangelo's youth enough has been said above).—" Cupid," commissioned by the abbot de la Grolaie; marble; lost; has been commonly identified as the " Kneeling Cupid " of the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum, but this, if by Michelangelo at all, which is not quite certain, must in all likelihood belong to a later See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . Florence, 1501-1506.—" Five See also:

• SAINTS, BATTLE OF THE

Saints, in niches decorating the shrine of See also:

• PIUS

Pius II.," commissioned by the See also:

• PICCOLOMINI
• PICCOLOMINI, OCTAVIO, PRINCE (1599-1656)

Piccolomini See also:

• FAMILY

family; marble; See also:

• CATHEDRAL

cathedral of See also:

• SIENA

Siena . The See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract for the sculptured decoration of this shrine was one of those which the pressure of other work pre-vented the artist from ever taking seriously in hand . Of the five saints in niches, traditionally reputed to be his work, the St Peter alone shows any clear marks of his style; the other four were probably designed, and certainly carried out, by weaker hands.—" See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David " (the " Gigante "), commissioned for the See also:

• CITY (through Fr. cite, from Lat. civitas)

city of Florence by See also:

• PIERO (1443—1496)

Piero See also:

• SODERINI, PIERO (1450-1513)

Soderini; marble; Florence See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . Besides what has been said above, it has only to be added that a See also:

• WAX

wax See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model in the Casa Buonarroti, showing nearly the same See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design with a different See also:

• MOVEMENT

movement of the legs, is probably Michelangelo's See also:

• ORIGINAL

original See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch for the subject . " David," commissioned by See also:

• PIERRE

Pierre See also:

• ROHAN
• ROHAN, HENRI
• ROHAN, LOUIS RENE EDOUARD, CARDINAL DE (1734-1803)

Rohan: bronze, lost; a See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay model in the National Museum, Florence, may probably be a sketch for it; more than one bronze has been brought forward with claims to be the original, but. none has stood the test of See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . " Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child," commissioned for Taddeo Taddei; circular relief, unfinished, marble; See also:

• LONDON

London, Royal Academy . The See also:

• MOTIVE (from Lat. movere, to move)

motive of the Christ-child frightened by the flutterings of the See also:

• BIRD

bird held out by St John is the most playful in all Michelangelo's work; the whole design shows the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Leonardo in his gentler, as much as the See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of the " Bathers " shows it in his more violent, moods." Virgin and Child with St John," commissioned by Bartolommeo Pitti; nearly circular relief, unfinished, marble; Florence, National Museum: a more tranquil and very charming presentment . " Madonna and Child," sold to the Mouscron family of See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges (known in See also:

• ITALY
• ITALY (Italia)

Italy as Moscheroni), and by them presented to the church of Notre See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame in that city; group in the See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round, marble; church of Notre Dame, Bruges .

A meditative seated Virgin with upright head, the naked child seated between her knees, his smoothly rounded See also:

• FORM (Lat. forma)

form in strong contrast with her complicated draperies . " St See also:

• MATTHEW, GOSPEL OF ST
• MATTHEW, ST (MaOOaior or MarOaIos, probably a shortened form of the Hebrew equivalent to Theodorus)
• MATTHEW, TOBIAS

Matthew ": one of a set of twelve statues of Apostles commissioned by the consuls of the Arte della Lana for the cathedral at Florence; marble; National Museum, Florence . Unfinished (only roughly blocked out), the other figures of the set never having been so much as begun; the contract was signed in 1503 and cancelled in 15o5 . There is an early See also:

• DRAWING

drawing by See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael from this statue .